Search

The article reviews the painting exhibition "Impressionist and Early Modern Painting: The Clark Brothers Collect," at the Metropolitan Museum in New York City.

The article reviews the knitting exhibition "Radical Lace & Subversive Knitting," at the Museum of Arts & Design in New York City.

The article reviews the exhibition "'Come Closer: Art Around the Bowery, 1969-1989" at the New Museum, Lower East Side, New York City until January 6, 2012.

The article reviews the exhibition "Artists in America: Highlights of the Collection From the New Britain Museum of American Art" at the Nassau County Museum of Art in Roslyn Harbor, New York through February 24, 2013.

The article reviews the exhibition "The Salon: Art + Design" at the Park Avenue Armory in New York until November 12, 2012.

The article reviews the exhibition "Ship to Paradise" at the Heckscher Museum of Art in New York through November 25, 2012.

Art can be very good at illuminating history, showing how shifting geographies, ideologies and violent upheavals have real but often hidden effects on individuals. That, in a sense, is what the exhibition ''After the Fall,'' at the Hudson Valley Center for Contemporary Art in Peekskill, sets out to do. The show features 18 artists from six countries in Eastern and Central Europe, most of whom were born under Communist rule but came of age ''after the fall.'' It's a great premise, but in the end a very academic show. What do I mean by ''academic''? One definition might include art based on the mediums, styles, techniques and theories espoused by art institutions. It can also mean methods and styles used so many times that they become stultifying templates: overly recognizable, ready-made devices that, in particularly bad moments, feel like gimmicks. ''After the Fall'' is in this latter category, with a large number of paintings borrowing the techniques and ideas developed by Gerhard Richter and Luc Tuymans. [ABSTRACT FROM AUTHOR]

Artists and scientists have plenty in common: Both work in competitive fields that value creativity, ingenuity and results. But an artist is not a scientist, and vice versa -- unless you are Natalie Jeremijenko. Ms. Jeremijenko has degrees in fields that link biochemistry, physics, neuroscience and engineering. She directs the Environmental Health Clinic at New York University, crossing over into the art and computer science departments. But all that really matters when visiting ''Natalie Jeremijenko: Connected Environments'' at the Neuberger Museum of Art is how what is on view functions as art. There is a strong whiff of the science fair in Ms. Jeremijenko's work. She relies heavily on display and interaction. Her work fits into the art context mostly because of the rise of installation art, which rejects concentrating on one object in lieu of focusing on the relationships between things -- a rather science-friendly approach. [ABSTRACT FROM PUBLISHER]

It's obvious from the start that ''Samurai in New York'' isn't going to be about robed warriors taking the city, in spite of the sensational name. The show's subtitle -- ''The First Japanese Delegation, 1860'' -- makes that pretty clear, and the introductory wall text spells it out: The visit in question, 150 years ago, was ''all about trade,'' a matter of setting up a business agreement. And yet ''Samurai'' is one of those small, in-the-hallway exhibitions at the Museum of the City of New York that delivers more than you'd expect. In this case it offers a lot to think about in terms of photography and its role in early publicity and celebrity culture as well as a fascinating look at how different societies responded to 19th-century stirrings of globalization. [ABSTRACT FROM AUTHOR]

''Brion Gysin was a subversive,'' we are told in a wall text just off the elevator at this New Museum retrospective. Gay and itinerant, he had ''no family, no clique, no fixed profession and, often, no fixed address.'' He lived on multiple continents. He communed or collaborated with William S. Burroughs, Alice B. Toklas and the Rolling Stones. His artwork was shape-shifting; his methods fell outside the pantheon of recognized mediums. Gysin's life and work were partly shaped by failure. In 1935, at 19, he was to be included in an exhibition of Surrealist drawing in Paris, alongside Max Ernst, Salvador Dali, Rene Magritte and Pablo Picasso: an extraordinary stroke of luck, reversed at the last minute when Andre Breton, the notorious Surrealist capo, ordered Gysin's pictures taken down on the day of the opening. The artist would come to view this edict as a lifelong curse. [ABSTRACT FROM AUTHOR]

Once upon a time, you could glue a cigarette butt to a canvas or haul dirty tires into a gallery and upset people's nervous systems. Now, art is so adept at absorbing any whiff of mischief that it is difficult to retain any meaningful vestige of the street. This is especially true in ''Keith Haring: A New Dimension'' and ''Chakaia Booker: Eminent Domain,'' on display in the Museum Building and the Domestic Arts Building at Grounds for Sculpture in Hamilton. Ms. Booker works with tires. There is a long tradition of this, leading back at least to Robert Rauschenberg, who scavenged Lower Manhattan to create his ''Combines'' from the 1950s and '60s. Ms. Booker's addition to the conversation in the early '90s was to link tires with race -- that is, the various shades of dark skin falling under the rubric of ''blackness,'' and the visual rhyming of tire treads with African scarification and body painting. (Ms. Booker also makes elaborate, sculptural costumes; someone should do an exhibit of these, since they have become, in recent years, her most intriguing works.) [ABSTRACT FROM PUBLISHER]

The line between art and craft is relaxed at three exhibitions mounted this season at LongHouse Reserve in East Hampton, a 16-acre sculpture garden and preserve founded by the textile designer Jack Lenor Larsen. Mr. Larsen's own creations have included, among others, curtains for Lever House and seat fabric for Braniff International Airways. On the craft -- that is, specifically handmade -- end of the spectrum at LongHouse is a collection of African ceramics assembled by the Chicago art dealer Douglas Dawson, who specializes in ancient and historic non-Western art. The exhibition includes more than 30 vessels made over the last 2,500 years by anonymous craftsmen and women. There are beer storage containers from Tanzania and South Africa; a churn from Morocco; a long, tall flask from Mali; and a ''double vessel'' from Cameroon that rests on two bulbous forms that look strikingly like buttocks. [ABSTRACT FROM PUBLISHER]

What would the proverbial alien, beamed into the Grey Art Gallery for a viewing of ''Downtown Pix: Mining the Fales Archives, 1961-1991,'' discern about New York toward the end of the last millennium? Maybe this: That it was very gritty, very gay and very Caucasian. Organized by Philip Gefter, a former picture editor for The New York Times, the exhibition includes more than 300 photographs and serves as a kind of sequel to ''The Downtown Show: The New York Art Scene, 1974-1984'' from 2006. Like that display, this one reminds us what the arts scene in the East Village, SoHo and TriBeCa was like at the height of the AIDS epidemic, before gentrification and before the downtown ethos and aesthetic were packaged into family viewing spectacles like ''Rent'' or those by Blue Man Group. [ABSTRACT FROM PUBLISHER]

The article reviews the ongoing exhibition "Shape of the Ape," featuring paintings by Klaus Weber, at Andrew Kreps in Chelsea, Manhattan, New York City, through February 2, 2008.

The article reviews an exhibition of art works by Ron Linden Phranc at the Cue Art Foundation in New York City through January 26, 2008.

The article reviews the exhibition "Following Room," by Beth Campbell at the Whitney Museum of American Art in New York City through February 24, 2008.

The article reviews the ongoing exhibition of art objects by Tara Donovan at the Metropolitan Museum of Art in New York City through April 27, 2008.

The article reviews Georg Baselitz's art exhibition "The Remix Paintings," at Gagosian in Chelsea, New York City, that will continue through December 22, 2007.

The article reviews the exhibition "New Photography 2007: Tanyth Berkeley, Scott McFarland, Berni Searle" at the Museum of Modern Art in New York City.

The article reviews an exhibition of drawings by Alan Saret at the Drawing Center in New York City.

The article reviews the exhibition "Senso Unico: A Show of Eight Contemporary Italian Artists," at the P.S. 1 Contemporary Art Center in New York City till January 7, 2008.

The article reviews the exhibition "Western Union: Small Boats," by painter Isaac Julien at Metro Pictures in New York City through November 17, 2007.

The article reviews an exhibition of photographs by Amir Zaki in Chelsea, Manhattan, New York City.

The article reviews the exhibition "The Pioneers of the Immemorable" in TriBeCa, New York City.

The article reviews the exhibition "Thomas Eggerer: Run River" in Chelsea, Manhattan, New York City.

The article reviews the exhibitions "Lisette Model: Portfolio of 12 Photographs" and "Lisette Model and Her Successors" of the works of Lisette Model in Chelsea, Manhattan, New York City.

The article reviews the exhibition "Impressed by Light: British Photographs From Paper Negatives, 1840-1860" at the Metropolitan Museum of Art in New York City.

The article reviews the exhibition "The Middle Pillar," featuring artifacts collected by Carol Bove, at West Village in New York City through October 27, 2007.

The article reviews the wood carvings exhibition "Glided Lions and Jeweled Horses: The Synagogue to the Carousel," featuring works of several Jewish carvers including Israel Dov Rosenbaum, Baruch Zvi Ring and Marcus Charles Illions held at the American Folk Art Museum in Manhattan, New York City.

The article reviews a photography exhibition by Collier Schorr at 303 Gallery in Chelsea, New York City.

The article reviews a drawing exhibition titled "Big Mind Sky," by Ugo Rondinone at the Matthew Marks in Chelsea, New York City.

The article reviews two photography exhibitions including "Gerda Taro," and "This Is War! Robert Capa at Work," displaying works by Robert Capa at the International Center of Photography in New York City.

The article reviews the exhibition "Design: Isamu Noguchi and Isamu Kenmochi" at the Noguchi Museum in Long Island City, New York City.

The article reviews an exhibition of painting and sculpture by artist Sadie Benning at the Orchard in Lower East Side, New York City.

The article reviews the art exhibition "Super Phat," by various Japanese artists including Yuko Shimizu, Meriko Mori and Kanako Sasaki at the Visual Arts Gallery in Chelsea, New York City.

The article reviews the exhibition "Brushed With Light: American Landscape Watercolors From the Collection" at the Brooklyn Museum in Prospect Park, New York City.

The article reviews the exhibition "Where She Stops," by artist Natalie Frank at Chelsea in New York City during September-October 2007.

The article reviews an exhibition of paintings by artist Tracey Rose at Manhattan in New York City during September 2007.

The article reviews the exhibition "Repicturing the Past/Picturing the Present" at the Museum of Modern Art in New York City.

The article reviews an exhibition of paintings made by Cheryl Donegan at the Oliver Kamm/5BE Gallery in Chelsea, Manhattan, New York City.

The article reviews the exhibition "El Museo's Bienal: The (S) Files 007" at El Museo del Barrio in East Harlem, New York City.

The article reviews the exhibition "Americans in Paris: Abstract Painting in the Fifties" at the Tibor de Nagy gallery in New York City.

The article reviews the exhibitions "Through the Lies of Your Dark, Dark Eyes" and "Alain Dister: Elegy for the Summer of Love" in New York City.

The article reviews the exhibition "Generation 1.5" at Queens Museum of Art in Queens, New York City.

The article reviews the exhibition "Packedsockdrawer" in Chelsea, Manhattan, New York City.

The article reviews the exhibition "Microwave, Five" at the Joseee Bienvenu gallery in Chelsea, Manhattan, New York City.

The article reviews the exhibition "All the More Real: Portrayals of Intimacy and Empathy" at the Parrish Art Museum in Southampton, New York State.

The article reviews the exhibition "1950s-1960s Kinetic Abstraction," at the Andrea Rosen Gallery in Chelsea, Manhattan, New York City from June 27, 2007-August 24, 2007.

The article reviews the exhibition "Korean Funerary Figures: Companions for the Journey to the Other World," at the Korea Society in New York City, which runs through November 20, 2007.

The article reviews the exhibition "Breath" at the Avery Fisher Hall in New York City.